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Raise the Red Lantern 1991 |
Review by Jonathan Cornwell |
Directed by Zhang Yimou
PG, 125 min. (mature themes) |
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Starring: Gong Li, Cao Cuifen, He Caifei, Jin Shuyuan, Kong Lin, Ma Jingwu, Zhao Qi
Producers: Chiu Fu-sheng
Screenplay: Ni Zhen
Cinematography: Yang Lun, Zhao Fei
Distributor: Miramax Films
Released: 1991 (Limited)
(In Mandarin with English subtitles) |
Rating:
 (out of ) |
 
There are few films that can portray humanity at its best or worst (or darkest), but Raise the Red Lantern is undoubtedly
one of them. Nominated for Best Foreign Picture in 1991, it lost to the far inferior Mediterraneo, a film that pales in comparison
to this masterpiece of filmmaking. Director Zhang Yimou, whose previous efforts have also been controversial and, in some
cases, banned from mainland China, has encapulated the darker range of human emotions - in this case deceit, jealousy, betrayal,
and eventually, murder. He has made a stunning motion picture, which can only become greater with time as more people are
exposed to its brilliance. The film can be emotionally wrenching and unflinchingly raw in its presentation, but does so in the
most genial way possible. Rich colors and pleasing architecture blend seemlessly with the simple, yet complex story to create
the perfect mood for the film to gain a foothold in your mind, only to then leave it empty and shaken by the film's stoic and
bitter conclusion.
The power of the film comes from the simplicity of its story, which quickly seduces one into a false sense of security before pulling
the rug from under one's feet. It's pretty straightforward - Songlian (Gong Li), a teenager whose parents cannot afford to continue her
education, has just been sold into marraige to a rich landowner in 1920's China. She is the fourth wife, or, as known at her
new home, the "fourth mistress." Although pampered and favored at first, she soon realizes that competition for the master's
affections will become fierce between her and the other mistresses. Every night, red lanterns are hung in the courtyard of the
mistress that will host the master that evening - each wife has their own house that is adjoined to the main complex. Before
this happens, however, the wives gather in a courtyard to determine who will have the honor of the master's presence
that night. A servant will symbolically place a red lantern on a stand next to the wife who will be honored that night. Although a
simple process, the geniune tension between the wives are evident, especially when one is picked over another. This leads to
jealously, which in turn leads to schemes to win the master's affections.
The first wife (Jin Shuyuan), is much older, probably the master's age, and is almost never chosen at this ceremony. She disdains the practice
and has no real interest in the other three wives or their lives. She is content to live out her life in peace and comfort, with
minimal complications. The second wife (Cao Cuifen) is middle-aged, but is pleasant and cordial to Songlian (at least at first), who immediately
bonds with her. The third wife (He Caifei) is a former opera singer and very beautiful, and is in constant head-to-head competition with
Songlian for the master's affections, as Songlian quickly learns. First impressions are sometimes false, however, as this story proves.
There are different levels of power in the house. If you host the master on a regular basis, you pretty much have the run
of the household, and the servants know this as well - meaning you are obeyed and respected. But there's a wild card in play -
if you have a male child for the master, you immediately go to the top of the ladder, so to speak. These and other plans are
used by the three competing wives (the first wife doesn't really care) to gain a foothold over the others. Obviously, this is
where manipulation, cleverness, and just pure ingenuity come into play. But the degree to which they will go to gain this power
is stunning - they would be willing to turn each other in for even the darkest of punishments, as foreshadowed early in the film.
Even more captivating than the story, the actors in this film are sensational - it seems they have been perfectly casted for
their roles. Director Zhang Yimou is able to convincingly portray each of their personalities and hidden agendas, and it seems
as if he uses them to symbolize different emotions in life as well. Facial expressions and actions speak louder than their
words, which makes the film even more gripping with its body language.
The cinematography, which is some of the best I've ever encountered, uses a unique technique to fully bring out colors to their
richest details - this process is no longer used in American cinema. Reds, yellows, and greens are vivid and life-like, which only
add to and enhance the story. We see the seasons pass with a view of the courtyard and the houses' rooftops - whether in summer
or winter, each season gives the film a unique look. In fact, just the visuals alone would make this film worth the viewing experience.
Political implications aside, the film does denounce many past Chinese practices that condoned slavery and concubines.
It is obviously a slap in the face of China's social structure - it rewards those who play the game, and punish those who refuse.
But even without these sidebars, the film is compelling in any interpretation reached.
I think the overwhelming power of Raise the Red Lantern comes not from its brutal honesty, but from its simplicity.
Viewing the film, you don't realize the ever-tightening grip it holds on you - until the end. When hit with its dark and
frighteningly somber conclusion, the film's affect comes into full view, and usually haunts the viewer for hours afterwards.
When trying to construe its nature, it's easier to recommend a viewing for one to understand its complexity completely.
The real debate over this film won't come from its greatness, which is undeniable, but where it stands among the
great films of our time. In my mind, with its near perfection in every cinematic aspect of filmmaking, it's one of the best
films ever made.
© 2000 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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